In Part 1 of this article, consisting of email responses to The Plot Against Art, I tried to give the reader a cross-section of emails I had received. Most of these came from failed artists who felt aggrieved at the insults and humiliations heaped upon them by an art establishment almost entirely controlled by organized Jewry. Here is a further selection of emails. I had intended originally to suppress these for fear of causing needless offence. I was finally persuaded to offer them for publication in the interests of free speech.

MIMI HOFFMAN: I won’t mince my words. I AM SPITTING MAD. I hated your article from start to finish. Because everything you said was false, false, false! Everyone I showed your article to, Jew and non-Jew alike, couldn’t believe such utter rubbish could ever be written. Why on earth would we Jews go out of our way to “create a hell on earth”? Would a people who’d experienced untold misery in the past, driven from country to country by bloodthirsty Christians — Christians who ended up killing six million of us in the cruelest circumstances — would a people familiar with suffering on such a vast scale attempt to “make life impossible for everyone”? For what purpose? Such sick behavior on our part would be counter-productive! It would only increase anti-Semitism! Don’t tell me you think we’re actually going out of our way to get ourselves hated!

DARKMOON: The quotations I provided in Part 1 of my article, in which leading members of the Frankfurt School openly state their agenda, are not quotations I concocted. The people who said these things were influential Jewish intellectuals, originally from Germany, who later taught at American universities. They are connected to a vast infrastructure in the media and the educational system. They said quite plainly that they wanted “to create a culture of pessimism”, “to corrupt society’s values”, “to make Western civilization stink,” and, finally, “to make life impossible for everyone.” So I’m not making anything up. I’m not inventing anything or spinning fancy theories. I am simply quoting these influential Jews.

Tell me this: Do you think the goyim are likely to love Jews more if you say to them: “Look, we’re going to corrupt your values! We’re going to push you to the edge of despair and drive you nuts! We’re going to make Western civilization stink and do our best to make your life totally impossible!” I seriously suggest that, if you and your fellow Jews want to be more popular in the countries which gave your forefathers hospitality, that you mind your manners! Treat the peoples and cultures where you live with respect! You want to be loved? Well then, be nice to your neighbors! Don’t spit in people’s faces if you want them to love you! Above all, don’t keep spitting on the Cross!

STEVEN K RYMER: These articles are EXCELLENT! Some of the best stuff I ever read. Especially these memorable quotes: “To summarize [the Frankfurt School agenda]: “Let’s create a culture of pessimism. Let’s make Western civilization stink. Let’s create a godless world and drive people to despair. Let’s corrupt society’s values and make life impossible. In short, let’s create hell on earth.” And this: “To undermine. To corrupt. To create discord. To drive crazy. To destroy. Verbs to remember.” The Frankfurt School in a nutshell. Yes! They are destroyers — trained for destruction like killer dogs — determined to create a hell on Earth! I don’t think I have ever heard a better description of the basic core of the issue before.

DARKMOON: Thanks for these kind words of encouragement. I need to remind you, however, that when I speak of the “Jews”, I mean organized Jewry — not ordinary Jews. It’s necessary to bear this distinction in mind. There are four possible statements we can make about Jews: (1) All Jews are hostile to the people and the culture of the West. (2) No Jews are hostile to the people and the culture of the West. (3) Some Jews are hostile to the people and the culture of the West. (4) Most Jews are hostile to the people and the culture of the West.

To say that no Jews have these negative attitudes is as absurd as saying that all Jews have them. We are therefore left with a choice. Either we say that some Jews have these attitudes or that most Jews do. To say that some Jews are bad is pretty safe; most Jews would agree with that, although they would probably deny that these Jews have much influence. But just try saying that most Jews have these attitudes, and that such Jews are a critical force in creating a culture hostile to traditional Western mores and values, and you’re in deep trouble. Someone sent me an email the other day that said:“If Jews act hatefully, isn’t it only natural to hate them? If they make it clear they’re out to destroy you and your cherished values, doesn’t it make sense to destroy them first? In such circumstances, isn’t there a case for anti-Semitism?” Frankly, I didn’t know what to say. I’d never heard it put like that before.

DALE RUSHTON: I would like to thank you for your brilliant article The Plot Against Art. In fact, I had been waiting for something like this to happen for years. An honest exposé of the contemporary art world. And it finally came! Thank you! I was myself an artist once. I tried to build an artistic career. It was pure madness on my part. I wasted ten years trying to achieve it with a truly fanatical determination; ignoring education, income, health, and success in every other occupation. I had nearly reached the point when my wife was about to walk out on me. I chased this pipe dream along with the best of them. And finally I began to suspect that this sort of career, this sort of artistic ‘fame’, was basically a form of prostitution. Art had been replaced by art business — a politicized and commercialized activity that no sane or moral person would even touch.

DARKMOON: If it’s any comfort to you, I have received scores of emails from artists who have traveled through the same dark wood that you have: years of passionate dedication to their work, the acquisition of exemplary skills, and, finally, the creation of beautiful objects which the Jewish art mafia decided to reject because they failed to satisfy their peculiar demands. The works produced were simply not shocking enough, not ugly enough, not depraved enough. They failed to produce that “culture of pessimism” so beloved of Georg Lukács and Walter Benjamin leading lights of the morally bankrupt Frankfurt School. Having failed to undermine moral values, poison the springs of life, and induce in the general public a state of suicidal despair, these artists were naturally fit only for the scrap heap.

DALE RUSHTON: I am quite familiar with almost everything you have mentioned in your article. For instance, an influential Jewish art critic once offered to help me with my career. He told me he would give me a favorable review if only I would “come out of my closet.” This happened in San Francisco where I lived for many years. I ignored these distasteful suggestions, being entirely heterosexual, and so I decided to persevere on my own. I succeeded in selling some of my work to private art lovers who seemed to appreciate my style, but no established art gallery showed the slightest interest in my work. Without the backing of this Jewish art elite, I was doomed to failure.

DARKMOON: Artists such as yourself, working in the old tradition, were under the false impression that what was needed were beautiful objets d’art to elevate the minds of the public. The opposite was in fact the case. The quest for beauty had been replaced by the systematic uglification of life. That was the new aim. “We must organize the intellectuals and use them to make Western civilization stink,” Marxist revolutionary Willi Munzenberg said. “Only then, after they have corrupted all its valuesand made life impossible, can we impose the dictatorship of the protelariat.” (My emphasis).

At least you know why you failed now. You failed because you aimed for beauty, not ugliness. Because you refused to promote “a culture of pessimism”. Because you did nothing “to make Western civilization stink.” Because you forgot the critical ingredient: to “make life impossible for everyone.”

DALE RUSHTON: I’m sorry if I come across as sad and embittered. That was not my intention. I still can’t understand how, after all my efforts, I managed to fail so spectacularly.

DARKMOON: You failed because you didn’t give the Jewish art establishment what it wanted. You refused to stuff your excrement into a can, for example, and try and pass it off as “art” — as Piero Manzoni did. If you had done so, you might well have sprung to international fame a few years later when your canned feces went under the hammer at Sotheby’s for $180,000.

Piero Manzoni, Artist’s Shit. The perfect symbol for modern art? Unfortunately, many people appear to think so.

Did you ever turn up at a prestigious art gallery in New York and demonstrate your masturbatory skills for your adoring fans? Victor Acconci stole a march on you there! You could have tried putting on a frock and a woman’s wig, like British artist Grayson Perry, and produced pottery depicting scenes of sexual perversion. You didn’t do this, did you?

DARKMOON (next day): Consider only these titles by one world-famous artist, Tracey Emin and draw your own conclusions: Everyone I Have Ever Slept With, Fucking Down An Ally (sic), Asleep Alone With Legs Open (several large-scale canvases of her splayed legs and vagina), I’ve Got It All (legs splayed again, clutching banknotes to her crotch), Weird Sex, CV Cunt Vernacular, Is Anal Sex Legal, Masturbating, Get Ready For the Fuck Of Your Life.

With titles like these, Tracey Emin could hardly fail. Her rich Jewish patron, advertising mogul Charles Saatchi, knew he was on to a good thing. As the Gadarene swine hurtle over the cliff top, Tracey Emin leads the pack.

Demon-possessed Swine

‘DMITRI’: I am a Russian Jew who settled in California forty years ago when my Paris-based family emigrated to America. I would like to correct two distortions which your otherwise excellent article has helped to promote: (1) that Jews have an inbuilt “visual deficiency” which always makes them second-rate artists, and (2) that the Jewish “art mafia” favors Jewish artists over non-Jewish ones and gives them preferential treatment. You are wrong on both these counts. I am a visionary artist who paints in the same style as Jewish artist Joseph Parker. See his painting below. How can you say this meticulously drawn painting shows a “visual deficiency” on the artist’s part? Isn’t it stunningly beautiful?

This is what I aspire to paint like. For the last 20 years I have painted hundreds of paintings in this style. No one recognizes my genius. I am regarded as a “poster artist”, as painting in a retro and outworn style. I have been damned with faint praise. They call me King Kitsch. The Jewish “art mafia” will do nothing to promote my work. Why? I suspect this is because my work uplifts the human spirit, and this is precisely what they do not want. They want ugliness and moral squalor. I could tell you about my failures and humiliations as an artist, but I won’t.

I will just say this. I have lost everything — my wife, my children, my life’s work. All I have left is my sanity and the new religion that saved me. Christianity. This gives me the will to go on. (By the way, I no longer consider myself a Jew). I go round the galleries with three small canvases in a carrier bag. I try to persuade the gallery owner (and the dealers I sometimes meet there) to look favorably on my work and give me a break. I dream of an exhibition. Of final recognition. Nothing happens. They won’t even look at my canvases. I have recently started taking round slides and leaving them with these important people — all of them, incidentally, Jews like myself. They have lost the slides. Or they have returned them with the rubber bands in exactly the same position as I’d arranged them. Showing me they’d never even bothered to take a look at my slides.

Why do I tell you this? So that you may know the truth. These rich Jews have no time even for their fellow Jews when they produce uplifting art. They much prefer the Useful Idiot Goyim who march to their drum and produce the crap they crave.

DARKMOON: Thank you for these fascinating insights into the art world. You have persuaded me to change my mind. Or rather, to modify my position from “extreme” to “moderate”. I readily concede now that some Jewish artists are striking exceptions to the general rule that Jews make lousy artists.

TIFFANY BLACKSTONE: Your amusing essay on art brought to mind Charlotte Whitman’s witty remark: “Whatever women do they must do twice as well as men to be thought half as good. Luckily, this is not difficult.” Still, I regret to say that in your haste to take a swipe at the Jews, you failed to point out that the emergence of the female artist can be attributed largely to Jewish influence. But for the feminist movement, which the Jews have been so active in promoting, we female artists — I am myself one — would have been neglected and scorned and forced to take a back seat by the male chauvinist patriarchal swine who call the shots in our society. We have the Jews to thank for the emancipation of the female artist, don’t you think?

DARKMOON: I’m afraid I cannot agree with your basic assumption that women have been “held back” by chauvinist pigs for centuries, and that their hitherto hidden talents have at last received recognition — thanks to the benevolent patronage of the Jews! The facts speak for themselves. How many great female musicians and artists can you name? The fact that more women have muscled in to these areas recently has nothing to do with the sudden recognition of their amazing talents, previously suppressed by “the male chauvinist patriarchal swine who call the shots in our society.” It has more to do with publicity and the promotion of silly girls with sex appeal.

I ought to mention at this point that some of the same promoters of the “Silly Girls” are also the promoters of the “Swaggering Boys”: such as tearaway shark artist Damien Hirst, transvestite potter Grayson Perry (see above), and painter of porno Madonnas Chris Ofili. All these artists were made famous by Jewish advertising Tsar Charles Saatchi. They were his Frankenstein monsters.

Damien Hirst

It can truly be said that wherever artists are to be found with a penchant for insulting Christianity or giving maximum offense to the public, there you will generally find the munificent Mr. Saatchi with his open check book.

DARKMOON (next day): There is nothing intrinsically admirable about Tracey Emin’s unmade bed or her attention-seeking leg-and-vagina paintings. If you were a man of taste, which of these two depictions of the Eternal Feminine would you prefer: this gorgeous creature by Botticelli or the feminist icon who appears below?

Some of these vaginocentric exhibitionists, like lesbian “performance artist” Annie Sprinkle (Ellen Steinberg), maintain websites blocked by porn filters. The aptly named Sprinkle — a nom de porn in honor of “urolagnia“ — is the lady who douched her vagina onstage in 1991, before lying down and opening her legs so that members of the audience, mostly male, could inspect her cervix with the help of a flashlight and speculum. There was a “Public Cervix Announcement” of the event at the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art (whose main claim to fame is “The Dinner Party,” a depiction of the vulvas of 39 mythical and historical famous women by Judy Chicago [nee Cohen]). It’s not “performance art” we’re dealing with here, it’s pornography — an area of expertise in which, as we all know, Jews reign supreme.

Annie Sprinkle (Ellen Steinberg), whose show was funded by the National Endowment for the Arts, masturbated on stage with sex toys, inserted a speculum into her vagina and called up audience members to examine her cervix with a flashlight. Please note: all this depravity is indirectly funded by the American taxpayer without that taxpayer’s knowledge or consent.

MIRIAM KATZ: A friend of mine gave me a printed copy of your ridiculous essay to read. I took it into the bathroom with me, hoping to peruse it there at my leisure, only to find to my dismay that I’d run out of toilet paper. Guess what? I used your inspired work of fiction to wipe my ass. Handy, no?

DARKMOON: I’m pleased to hear my article made an impact, if not on your brain, at least on your behind. Actually, I’m surprised to hear you make use of toilet paper at all. Well done.

MIRIAM KATZ: Touché! I guess I asked for that. The contemporary art scene, I have to admit, looks pretty bad. But why blame the Jews for it? It seems to me you go out of your way to be needlessly anti-Semitic.

DARKMOON: Why do I blame “the Jews” for what they have done to art, music and Western culture in general? Perhaps you should reread my essay, particularly the distinction I draw between organized Jewry (bad) and ordinary Jews (often good). Why do I do blame “the Jews” for their ongoing genocide in Gaza? Why do I blame them for their penchant for committing war crimes? Why do I blame them for the theft and plunder of Palestine? Why do I go out of my way to be “needlessly anti-Semitic” like the Pope and the Archbishop of Canterbury, like Ex-President Jimmy Carter and Bishop Desmond Tutu, like John Meersheimer and Steven Walt, like Israel Shamir and Israel Shahak, and like billions of other disgusting anti-Semites? I honestly don’t know. I can only speculate. Could it have something to do with the behavior of the organized Jewish community?

DARKMOON (to Paul Norrland, translator of The Plot Against Art into Czech): Dear Mr Norrland, I came across this comment today in an article by Gilad Atzmon, “I learned recently from an American Jewish professor who teaches in Prague, that convoys of young American Jewish students make their way to the beautiful Czech capital every summer. They apparently use the opportunity to spit on the many Churches and golden crucifixes around. [My emphasis]. I also learned from the professor that the crucifixes on Prague’s famous Charles Bridge were initially decorated with the Hebrew words Kadosh Kadosh Kadosh Adonai Tzvaot — “Holy, Holy, Holy is the Lord of Hosts” — back in the 17th century just to stop Jews spitting on Christian symbols and the Crucifix in particular”. I wonder if you could comment on this bizarre phenomenon of “spitting mad Jews” who apparently fly all the way from America to Prague in order to spit on the image of Jesus Christ.

RED AVENGER: fuck the Jews. may they burn in hell forever. if I could build a hundred new auschwitzes and put all fifteen million of these vermin in it, i’d do it right now. good one darkmoon, keep it up…

DARKMOON: I am saddened by your comment. I sincerely hope my essay has not contributed to your sickness. There are many good Jews and I’d ask you to remember this. Your anti-Semitism is getting out of hand when you’ve reached the stage of thinking that all Jews are evil and wishing they’d all died in Hitler’s death camps. I’m afraid this puts you beyond the pale. I’ve recently made friends with a Jewish painter — a truly remarkable woman, generous and caring — and I’d hate to see her come to any harm for no other reason than that she happens to be Jewish. The only hope for mankind, in my opinion, is the mass conversion of the Jews to Christianity. A collective exorcism is what they need. Building new Auschwitzes will not solve the problem.

DARKMOON:Enough already! (From you, I mean). I must remind you that Freud has long since been exposed as a fraud and psychoanalysis dismissed as “a sectarian political movement masquerading as science.” (See Chapter 4 here). A Freud fan who spent his life producing smut and who offers a convenient paradigm of Talmudic attitudes to Christianity is Al Goldstein — he likes telling people that “Christ sucks”.

Al Goldstein, publisher of Screw magazine, said (on lukeford.com – note: is adult content), “The only reason that Jews are in pornography is that we think that Christ sucks. Catholicism sucks. We don’t believe in authoritarianism.”

When asked if he believes in God, Goldstein says: “Fuck God. I am your God, admit it. We’re random. We’re the flea on the ass of the dog.” When his partner is asked what attracts her to this foul-mouthed pornographer, Goldstein butts in: “It’s my big Jewish dick.”One can’t reason with men like this. One can only refer them to the nearest psychiatric clinic. Unfortunately, thousands of such Goldsteins are now to be found everywhere, spreading all over America like a mad rash: in Hollywood, the media, the judiciary, academia, high finance, and in the higher echelons of the government. Even the best torture experts are now Jewish, as Alan Dershowitz would be the first to testify.

DARKMOON: (later, unsent email): And now for the final twist of the knife. Rabbi Schmuley Boteach, author of Kosher Sex and The Kosher Sutra, has just announced that “Jewish values” are America’s way forward. Jewish values? Did I hear the good Rabbi correctly?

Are these the “Jewish values” America needs: ADL National Director Abraham H Foxman denounced Mel Gibson’s Passion as “anti-Semitic”, but nevertheless waxed eloquent about the Jewish role in the porn industry. “Those Jews who enter the pornography industry have done so as individuals pursuing the American dream,” he enthuses fatuously.

Or perhaps this charmer will provide America with its new “Jewish values”?

If these are the Jews who are going to heal America and lead it into the future, God help America.

Dr. Lasha Darkmoon (email her) is an academic, age 31, with higher degrees in classics. A published poet and translator, she is also a political activist with a special interest in Middle Eastern affairs. ‘Lasha Darkmoon’ is a pen name.